​"It's been 10 or 11 years, maybe 9, since I saw The Dramedy perform as a one-man acoustic outfit for the first time. Dave Dramedy looked possessed, hair thrashing about in a moshing mess as it seemed that what was happening on stage was something only he heard; an imaginary band behind him fast-forwarding aggressively maybe violently in time with his 6 strings and his words. Truth be told though, I don’t know how long ago it was or how any of us got to now from so much time long gone. What I do know is that we’re all still here, some of us anyway after an ugly year in an age of sickness, doubt and a new sophomore album.

And the Light Goes White is the latest work presented by Dave Dramedy and yes, crew! The Dramedy has since evolved from those solo acoustic days to become a vigorous, sometimes forceful outfit on record. This time around Dave has added a powerful low-end section consisting of Africa Swenson on bass and Michael Collins on drums/percussion. This rhythm section doesn’t hold back in being shy sometimes gliding, sometimes pounding its way through song after song of deliberate nuances, melodies and rhythmic phrases along Dave’s guitar lines giving the listener a choice to sing along with or dance into the groove. What pandemic? Surely, the wait to hear what Dave heard on stage by himself has been well worth this.

The pandemic doesn’t seem to have stopped The Dramedy. The album’s second cut “Parasite,” proves it. While it’s a solid, head-banging Rock n Roll tune, it says what everyone else in the country is thinking when “outside there’s nothing to hold onto.” Collin’s drumming, makes like the trampling stampede of relentless horses to reinforce the senselessness trying to make sense of it all. One might be inclined to think that The Dramedy just might be right.

“Popsicle” is a frenzied drive into the mind of a twisted binge which simultaneously hurts so good as it kills. Satisfaction is more than guaranteed as “popsicle,” whatever your poison is, pushes on through dear life over a jagged guitar riff that’s as subtle as a rusty blade edge over Swenson’s bass pumps like the album isn’t’ without its gentler moments, though. “Waiting on You,” One of the two ballad type songs is a sentimental memory of things long gone. Perhaps it tries to remind us of a bad year or some other time that should have, could have or would have been but never was. “Standing still as the time quickly moves” reminisces a moment not too long ago when the world stopped for sickness. We might all still be waiting and for how long, who knows.

Oh, and the acoustic guitar? It never went away. It’s back as grit and swamp. A couple of the songs are acoustic based, even pretty. “All Our Yesterdays” is a meditative, quiet melancholy ode to no one or to an experience of loss, maybe it’s just an early sunrise as the day that went is the day that was to a sigh, a thankful prayer to see it gone and never return. 

The body of work captures the zeitgeist of a new and ambiguous age so much that And the Light Goes White might be self-aware for its time long after its time is over and gone. It’s a whole, complete sound. It’s pure Rock n Roll for sure. One listen and no one will disagree, however there is something more here that is telling yet elusive. What that is exactly though, who knows and perhaps only Dave from all that time ago who heard the band on stage that wasn’t there could describe. For today though, The Dramedy speaks loudly and soundly about what we should be hearing now."

-Francisco Ezequiel


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